| Irene Redfield (Ferris) Thedinger

It is also the title of her novel about the struggle of Irene Redfield, a privileged black woman, with the attempts of a childhood acquaintance to insinuate herself into Irene's adult life. Clare Kendry was steely, the daughter of a well-liked but drunken mulatto janitor and a black mother who died when she was small. In womanhood, Clare has become glamorous, wealthy--and white.

Brilliant red patches flamed in Irene Redfield's warm olive cheeks.

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This is what Irene Redfield remembered.

Clare Kendry and Irene Redfield were both brought up as African-American women in a time where race was a social issue and of confusion. ... The book explores the life of Clare Kendry who decided to abandon her African-American heritage and contrasts the life of Irene Redfield who finds this abandonment as a problem. ... As Claire begins to spend time with Irene and her family, Irene questions her security with her husband. ... The thought of Brian leaving Irene for Claire, terrified Irene. ... On the other hand, there is Irene Redfield who tries to believe that passing, as a white female ...

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Throughout the story, the two main characters Irene Redfield and Clare Kendry illustrate the difficulties faced by African American women who could "passaE as white women. ... Irene's jealousy is rooted in hypocrisy. ... It mocks everything that Irene has done. ... Clare perceives Irene as her connection to the black world and Irene reconciles her craving to mingle in the white world. ... Irene wanted to live a luxurious life too. ...

Five days had gone by since Clare Kendry's appealing letter. Irene Redfield had not replied to it. Nor had she had any other word from Clare.
In the novel Passing by Nella Larson, the author uses this quote to show the struggles of how Irene Redfield is caught between her husband cheating on her with an old childhood friend, Clare Kendry, who has lied to the world about not being a Negro, her race and her herself. ... From the novel we know that Clare is having an affair with Irene's husband and Irene knows. ... Irene knows Clare's secret the entire novel and Irene is perceived by the narrator to hate Clare for many reliable reasons. Clare is having an affair with Irene's husband in the book, but for some reason Iren...We help our users find the exact Irene they are trying to find by arranging all our information into four main divisions – name/aliases, age, location and possible relatives. This allows you to scan all the people with the last name Redfield below and find the right one. If you succeed in finding a listing that looks a lot like the Irene Redfield you are searching for, simply click the View Details link to the right of the listing to browse through all of the data we have on the person.Are you on a quest to locate Irene Redfield? If so, you have come to the right place. USA People Search can provide you with vital details such as address, phone number, and email for people like Irene Redfield. Moreover, with the fantastic range of information we present about people with the last name Redfield, you will definitely find the family or friends you are searching for. The passer is thus an enigma, a subject who is marked through his/her indeterminacy and whose attempt to escape categorisation is made visible in the passing narrative. This tension is explored in Nella Larsen's (1929), [] a novella which thematises both the racial and sexual passer (201). P is the story of two women, Clare Kendry and Irene Redfield, who are reunited after a long separation. Irene who occasionally passes for white tells Clare's, the permanent passer's, story. Irene lives in Harlem with her husband and her two sons where she does conscientious "race work" for the black community. Once childhood friends in their hometown Chicago, Irene and Clare are accidentally reunited while Irene is holidaying in Chicago and visiting her father. It is on this occasion that Irene discovers that Clare is passing for white and married to a racist white financier, John Bellew. Disturbed at finding Clare is passing for white, Irene discourages Clare's desire for renewed friendship even though Irene can, and occasionally does, pass for white herself. Irene's passing position is to some extent faceless (as narrator Irene evades self-description) whilst Clare's passing body is obsessively and erotically pictured. In the permanent passer is spectacularised through the gaze of the casual passer who already partly knows what he/she looks for. As Edelman writes: "the fact of our ability to catch a glimpse of it [the faceless face of the homosexual] here bespeaks the possibility that we might not have done so had we not been prepared to identify what otherwise has the ability to 'pass'" (219). Irene's evasion is, typically, unsustainable: Clare eventually follows Irene back to Harlem where she becomes dangerously involved with Irene, her family and the "black" community. It is there that Clare's hidden racial identity is eventually outed to her white husband. This outing, or what Butler refers to as a "killing judgment" (175), threatens Irene's exposure and climaxes in her murder of Clare.
The things which Irene Redfield remembered afterward about the Negro Welfare League dance seemed, to her, unimportant and unrelated.

Irene Redfield | Biography | AllMusic

And for a swift moment Irene Redfield seemed to see a pale small girl sitting on a ragged blue sofa, sewing pieces of bright red cloth together, while her drunken father, a tall, powerfully built man, raged threateningly up and down the shabby room, bellowing curses and making spasmodic lunges at her which were not the less frightening because they were, for the most part, ineffectual. Sometimes he did manage to reach her. Butonly the fact that the child had edged herself and her poor sewing over to the farthermost corner of the sofa suggested that she was in any way perturbed by this menace to herself and her work.

To Irene Redfield this soft foreboding fog was another reason for doing nothing about seeing Clare Kendry that afternoon.

Irene Redfield is a doctor's wife

Coleman Silk, Clare Kendry and Irene Redfield have all taken part in the act of "passing," "the movement of a person who is legally or socially designated black into a white racial category or white social identity, (viii, Larsen). ... Exposing himself would only destroy all that he worked so hard to conceal and he couldn't l...

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The main character of the story is Irene Redfield, a lady prominently ensconded in Harlem's vibrant society of the 1920s. Her charmed existance, however, is shaken up by a chance encounter with Clare Kendry, a childhood friend that has been "passing for white" and hiding her true Negro identity from everyone, including her racist husband. Clare's actions provoke both ladies to confront the hazards of public and private deception.